scholarly journals Estéticas Nômades: Belém, Manaus e o circuito nacional do comércio de arte

2018 ◽  
Vol 4 (6) ◽  
pp. 82
Author(s):  
Moema Alves
Keyword(s):  
Twentieth Century ◽  
Present Article ◽  
Rio De Janeiro ◽  
Fine Arts ◽  
New Markets ◽  
The North ◽  
Cultural Life ◽  
History Of Art ◽  
History Of

ResumoNa virada do século XIX para o XX, estados como Pará e Amazonas viveram grandes transformações tanto na vida política quanto cultural. Suas capitais e os costumes de suas gentes buscavam refinamento a partir dos padrões burgueses europeus e a apreciação das chamadas belas artes em muito contribuíram para esse objetivo. Nesse contexto, favorecido pela grande circulação de dinheiro provocada pelo comércio da borracha, os estados em questão se tornaram atrativos para aqueles artistas em busca de novos mercados. O que o presente artigo aborda, portanto, é, através do caso da viagem do pintor fluminense Antônio Parreiras para o Norte, como se dava a articulação entre esses mercados e como circulavam as obras de arte, pensando que esse deslocamento não é só geográfico, mas também de questões que permeiam nossa leitura da história da arte no Brasil. Com isso, entendemos esse trânsito e as trocas provenientes dele, como essenciais para a formação coleções e, com elas, de novas narrativas.AbstractAt the turn from the nineteenth to the twentieth century, states like Pará and Amazonas have undergone great transformations in both political and cultural life. Its capitals and the customs of its people sought refinement from European bourgeois standards and the appreciation of the so-called fine arts contributed greatly to this goal. In this context, favored by the large circulation of money brought on by the rubber trade, the states in question became attractive to those artists in search for new markets. What the present article addresses therefore is, through the case of the trip of Antônio Parreiras, a painter from Rio de Janeiro, to the North, how the articulation between these markets and how the art circulation works, thinking that this displacement is not only geographic, but also of questions that permeate our reading of the history of art in Brazil. With this, we understand this transit and the exchanges coming from it, as essential for the formation of collections and, with them, new narratives.

Twentieth Century Painting: Compass History of Art

Art Education ◽  
1965 ◽  
Vol 18 (8) ◽  
pp. 29
Author(s):  
Francis V. O'Connor ◽  
H. L. C. Jaffe
Keyword(s):  
Twentieth Century ◽  
History Of Art ◽  
History Of

scholarly journals Art (and) Criticism: Hart Crane and David Siqueiros

Text Matters ◽  
2018 ◽  
pp. 229-243
Author(s):  
Alicja Piechucka
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Present Article ◽  
Art Criticism ◽  
Hart Crane ◽  
Historical Texts ◽  
Art And Literature ◽  
History Of ◽  
The Way

The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting to delve into the way Crane approaches painting in general and Siqueiros’ oeuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—“Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature.

scholarly journals La institucionalización de la danza en la Facultad de Bellas Artes en Valdivia: Una historia desde la experiencia de sus bailarines, 1954-1976

2018 ◽  
pp. 125
Author(s):  
Carla Mella Barrientos
Keyword(s):  
Twentieth Century ◽  
Civil Society ◽  
Performing Arts ◽  
Fine Arts ◽  
University Funding ◽  
History Of ◽  
Personal Archives ◽  
Sociedad Civil ◽  
Siglo Xx ◽  
General Secretary

En el artículo se analiza el proceso de institucionalización universitaria de la danza disciplinaria en Valdivia a mediados del siglo XX. El objetivo es demostrar que su desarrollo surgió debido a la preocupación por la apertura de la cultura a la sociedad civil, entendida aquella como aquellos elementos educativos y artísticos de interés para el Estado chileno, los agentes privados y las municipalidades.El proceso de institucionalización de la danza corresponde a un periodo de transformaciones en torno a la comprensión de la necesidad de integrar en la academia valdiviana el arte escénico, lo que no estuvo alejado de problemas relativos al financiamiento universitario, desastres naturales e interés por parte de las autoridades de mantener el área. Las fuentes utilizadas corresponden a relatos orales de tres destacadas bailarinas vinculadas al campo de la danza en Valdivia, testimonios de carácter principal que encarnan las influencias de escuelas, corrientes y estéticas; documentos vinculados con la historia de la Facultad de Bellas Artes, extraídos del Archivo de la Secretaría General de la Universidad Austral de Chile, archivos personales y notas periodísticas del diario El Correo de Valdivia.Institutionalization of Dance in the Fine Arts faculty in Valdivia: A history from its dancers’ experience 1954-1976AbstractThis article analyzes the process of university institutionalization of disciplinary dance in Valdivia in the middle of Twentieth Century. The objective is to show that its development emerged due to the concern about the cultural opening to the civil society known as those educational and artistic elements of interest for the Chilean State, private agents, and municipalities. Such process of institutionalization takes place when people were transforming their understanding about the necessity to integrate Performing Arts in the Academy of Valdivia, which was not far away from problems as university funding, natural disasters, and the interest from authorities to maintain the area. Used sources correspond to verbal stories by three distinguished dancers connected to the dance field in Valdivia, important testimonies personifying influences of schools, trends, and aesthetics; documents related to the history of the Fine Arts Faculty and extracted from the General Secretary Archive of the Universidad Austral de Chile, personal archives, and journalist notes from El Correo de Valdivia newspaper.Keywords: Disciplinary dance, institutionalization, Faculty of Fine Artes, Universidad Austral de Chile.A institucionalização da dança na Faculdade de Belas-Artes em Valdivia: Uma história desde a experiência de seus bailarinos, 1954-1976ResumoNo artigo analisa-se o processo de institucionalização universitária da dança disciplinar em Valdivia em meados do século XX. O objetivo é demonstrar que seu desenvolvimento surgiu devido à preocupação pela abertura da cultura à sociedade civil, entendida como aqueles elementos educativos e artísticos de interesse para o Estado chileno, os agentes privados e as prefeituras. O processo de institucionalização da dança corresponde a um período de transformações ao redor da compreensão da necessidade de integrar na academia valdiviana a arte cénica, o que não esteve alheio aos problemas relacionados com financiamento universitário, desastres naturais e interesse por parte das autoridades de manter a área. As fontes utilizadas correspondem a relatos orais de três destacadas bailarinas ligadas ao campo da dança em Valdivia, testemunhos de caráter principal que encarnam as influências de escolas, correntes e estéticas; documentos ligados à historia da Faculdade de Belas-Artes, extraídos do Arquivo da Secretaria Geral da Universidade Austral do Chile, arquivos pessoais e recortes da imprensa pertencentes ao jornal O Correio de Valdivia.Palavras-chave: dança disciplinar, institucionalização, Faculdade de Belas-Artes, Universidade Austral do Chile

Rewriting or Reaffirming the Canon? Critical Readings of Exhibition History – Editorial

2015 ◽  
Vol 1 ◽  
Author(s):  
Linda Boersma ◽  
Patrick van Rossem
Keyword(s):  
Twentieth Century ◽  
Art History ◽  
Public Realm ◽  
The Public ◽  
Artistic Production ◽  
Exhibition History ◽  
History Of Art ◽  
History Of

In 2010, Afterall Publishers launched a series of exhibition histories wholly devoted to the study of landmark exhibitions.[1] The aim was to examine art in the context of its presentation in the public realm. In this way, research into art history shifted from the artistic production of one individual artist to the context of the presentation, and to the position, views, and convictions of the curator. In the introduction to the book, published in 2007 with its contextually pertinent title, Harald Szeemann: Individual Methodology, Florence Derieux stated: “It is now widely accepted that the art history of the second half of the twentieth century is no longer a history of artworks, but a history of exhibitions.”[2] Not everyone agrees with this, however. For example, art historian Julian Myers justifiably criticized this statement when he wrote that the history of art and exhibitions are inextricably linked.

Obstacles and opportunities for women linguists in Scandinavia

2020 ◽  
pp. 245-278
Author(s):  
Tove Bull ◽  
Carol Henriksen ◽  
Toril Swan
Keyword(s):  
Higher Education ◽  
Twentieth Century ◽  
Private Education ◽  
Upper Class ◽  
Faroe Islands ◽  
The North ◽  
Nation States ◽  
History Of Linguistics ◽  
History Of ◽  
National Languages

This chapter concerns the role played by women in the history of linguistics in the Nordic countries: Denmark, the Faroe Islands, Iceland, Norway, and Sweden. Our main focus is on the period from the mid-sixteenth to the mid-twentieth century, a period that began with the gradual emergence of the nation states of the North and the need for the codification of common national languages. Gradually, education became more widespread, and although the first schools were for boys, private education was given in upper-class homes and was thus also accessible for girls. The first grammarians were all men, so early on it is mostly behind the scenes that we find women involved in the study of language. Once women were allowed to participate in higher education, some of them made significant contributions to linguistics. In order to understand the role played by women, it is clearly necessary to view their contributions in the context of the age and society in which they lived.

Mexicoarte: a new means of obtaining information about the art of Mexico

1988 ◽  
Vol 13 (4) ◽  
pp. 15-19
Author(s):  
Elsa Barberena Blásquez
Keyword(s):  
Fine Arts ◽  
Host Institution ◽  
Mexican Art ◽  
History Of Art ◽  
National University ◽  
History Of

Work is proceeding on the compilation of a database on Mexican art, comprising references to bibliographic and visual resources, and artist’s biographies, and representing the history of art in Mexico from the beginnings of Prehispanic civilisation to the present day. UNESCO’s Common Communication Format (CCF) has been adopted, as also has CDS/ISIS software. A thesaurus is in the process of being developed; terms are being drawn in many cases from existing indexes and other sources. MEXICOARTE has been initiated by the Art Section of the Mexican Library Association (AMBAC) in association with the National University (the host institution) and the Nation Institute of Fine Arts.

Expelling demons at Nineveh: The visibility of benevolent demons in the palaces of Nineveh

Iraq ◽  
2004 ◽  
Vol 66 ◽  
pp. 83-92
Author(s):  
Tallay Ornan
Keyword(s):  
Ninth Century ◽  
Present Contribution ◽  
North West ◽  
The North ◽  
Recent Scholarship ◽  
History Of Art ◽  
Religious Subject ◽  
History Of ◽  
Historical Themes ◽  
First Time

As has been shown and extensively dealt with in early and more recent scholarship, Neo-Assyrian palatial wall reliefs went through many thematic changes throughout their two hundred and fifty years of existence. One of their conspicuous traits was a gradual abandoning of magical-religious subject matters, represented by protective supernatural beings, in favour of larger and more detailed historical compositions — mostly of a belligerent nature — revealing, for the first time in antiquity, a truer sense of narrative display. As the narrative-historical themes were rightly considered to be an innovative and prominent contribution of Assyrian imagery to the history of art, extensive efforts have been devoted to the study of these compositions within the context of Assyrian palaces.In the present contribution I intend, however, to concentrate on the “losing” side of Assyrian palatial decoration, namely to focus on the visibility of apotropaic fantastic creatures rendered on wall reliefs and to offer some explanation for their gradual expulsion from the pictorial display of the Assyrian palace. Following Porada, in this essay these hybrids are called demons, in accordance with the Greek term daimon. Benevolent demons appear already in early ninth-century Neo-Assyrian wall reliefs, both in temples, as shown by a small number of slabs from the Ninurta Temple at Nimrud, and much more commonly in palaces, in particular within the North-West Palace.

The Birth of the North American Home Improvement Store, 1905–1929

2009 ◽  
Vol 10 (4) ◽  
pp. 687-728
Author(s):  
Richard Harris
Keyword(s):  
Twentieth Century ◽  
North American ◽  
Urban Housing ◽  
Mail Order ◽  
Goods And Services ◽  
The North ◽  
Home Improvement ◽  
Housing Services ◽  
History Of ◽  
Trade Press

The idea, and to a lesser extent the reality, of themodern home improvement store was born in the first quarter of the twentieth century. After 1905 the manufacturers of mail-order kit houses soon grew to threaten the local monopoly of retail building suppliers. Themost important of these suppliers were the lumber merchants who provided most of the materials and credit used by building contractors. At first dealers responded by mounting boycotts and by supporting trade-at-home campaigns, but these were successfully challenged in court. A survey of trade journals shows that after 1914 dealers began to act more constructively. Encouraged by the trade press, and helped by state and national associations, by the 1920s they were advertising more effectively and offering a widening range of goods and services to consumers, including house plans. Because many new customers were women, dealers had to hire more courteous staff, clean up their yards, mount better displays, build showrooms and, in time, relocate to more salubrious and heavily-trafficked parts of town. The emergence of the home improvement store is a significant chapter in the history of urban housing, and especially the marketing of housing services, in the twentieth century.

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